On Wednesday, Human Rights Watch (HRW) issued a call to action for comedians who recently graced the stage at the Riyadh Comedy Festival in Saudi Arabia. The international rights organization urged these performers to publicly address Saudi Arabia’s troubling record on human rights and to advocate for the release of the nation's unjustly imprisoned activists, including known figures like Waleed Abu al-Khair and Manahel al-Otaibi.

HRW has criticized the comedians for not using their influential platform to speak out against human rights abuses in the kingdom. The organization also requested that performers reject any contractual clauses that might prevent them from discussing these critical issues publicly. A proposed meeting with the comedians on September 19 went unanswered, raising concerns about their willingness to engage on these pressing matters.

The festival, which boasted appearances from over 50 renowned international comedians including Dave Chappelle, Louis C.K., Pete Davidson, Kevin Hart, and Russell Peters, concluded on October 6. Notably, some comedians like Shane Gillis, Mike Birbiglia, and Stavros Halkias opted out of the event, possibly due to ethical concerns.

Saudi Arabia’s General Entertainment Authority promoted the festival as a move to boost Riyadh as a prime location for major cultural and artistic events. However, critics like Joey Shea, a researcher at HRW, argue that the festival serves more as a distraction from the country's human rights violations rather than a genuine attempt at economic diversification under Crown Prince Mohammed bin Salman’s Vision 2030 initiative.

The festival's timing also coincided with the seventh anniversary of the state-sponsored assassination of journalist Jamal Khashoggi, a fact that further compounds the ethical questions surrounding participation in the event. Additional concerns have been raised by HRW and the Middle East Democracy Center regarding the surge in executions in Saudi Arabia, often without fair trial, aimed at suppressing dissent.

Amidst this backdrop, comedian Atsuko Okatsua highlighted restrictive clauses in the festival contract that barred performers from presenting material that could be seen as offensive to Saudi Arabia. Meanwhile, comedian Tim Dillon openly admitted to prioritizing financial gain over human rights issues, acknowledging a hefty payment to overlook the country's policies.

This controversy throws into sharp relief the complex interplay between international entertainment, financial incentives, and the global responsibility to uphold and advocate for human rights. The silence from many comedians at the festival poses significant questions about the role of artists in challenging or perpetuating societal issues.